12

Well, the best way to do it is to find yourself a wild dragon that hasn't been exposed to humans too much and by tickling it behind its ears you will cause it to roar. You just have to make sure to stay clear of the tail and head though. And for the real answer: Most dragon roars or rather "animal" roars are a combination of different roars, breathing ...


11

(fade up on scene already in motion) The old rickety elevator, which should have been taken out of service a decade ago ago, shimmies up to the 38th floor as it has for years. But, unbeknownst to the lone passenger, this trip will be different... (cue A MENACING GROAN FROM ABOVE as the cable strains against an unknown force, and suddenly...) CRACK!!! The ...


10

Great question! It does depend on the sound somewhat, but my process involves all or some of the following: Listen to the sound. Carefully. Listen to it in different ways. Reduced listening is really important for this sort of thing. Analyse the sound. Look at the waveform, taking in the whole sound, and parts of the sound and at single cycle zoom level. ...


10

Library producer here (echo collective, echo collective:fields) regarding cleaning background sounds - All background fx cleaning is destructive and alters the source in some way. The reason this step is not done is because that type of work really requires context to be done well. In other words, if you place a sound with some background wind or ...


10

I want to tell the story from the designer perspective and I totally agree with Rene's answer. I do sound design for video games. I always prefer non-edited files even if they require some extra work. Sometimes I find a very nice sound to fit my project but disappointed to see it was ruined because somebody assumed that it is better to add some fancy FX so ...


9

I am a post sound b#itch. I love it. It is everything I have wanted since I ran my Cubase system in 89. There is nothing else for me. I started competing for time in the studio at age 13. While I do call my female comrades "unicorns", as there are not many of us, those that exist would not at all be attracted to more "artsy" course titles or different ...


8

To reflect on your first question, Randy is referring to a psychoacoustic principle that falls under something called "scene analysis." I don't know that he's necessarily read a ton on psychoacoustics...but whether or not he has, the different effects are something that you begin to pick up on after a certain amount of experience. Basically, what's going on ...


8

One of my classmates at Vancouver Film School is 47 years old and has no experience in sound design and is actually good at his work. Its how badly you wanna learn. As far as finding a job goes, I know people who've been in this field for a very long time but still don't have a job. Finding a job has got to do more with how good you are at your work (1st) ...


8

my .02 Adding sync sounds gives a sense a reality and often a sense of weight and grit to any given scene. If reality, weight, and grit are what's required artistically then the tendancy would be to make a sound for the object on screen. The vast majority of the time, this is probably the case. Abstaining from placing sync sounds creates a sense of ...


8

[Boo. Hi, folks. :-)] Is there a standard definition of "abstract sound design?" Smarter minds than mine can probably answer that. Personally and subjectively, I think it can refer to a few things. We talk about this a lot with our clients and sound design folks at work, since we primarily do SFX for interfaces. Just like visual art, sound design can be ...


6

The first is that he said that one of his huge trade secrets in sound design are sounds that continually change in pitch just slightly. This way, they clash less with music and dialog and can be heard better through the mix because they're constantly changing. This makes a tone of sense and is genious. The question is...what would you use to do that? I ...


6

i've had success pitching down recordings of polenta, chili, thick stews to get that gloopy sound. Layer low frequency rumble, debris and rocks etc


6

David Farmer did an AMA on Facebook recently where he talked about some of this: https://www.facebook.com/photo.php?fbid=10151753385296286&set=a.101318681285.104099.7513286285&type=1&theater David Farmer: It helps to start with a great performance which Benedict gave us in droves. His voice is arguably the best I've been able to work with. The ...


6

Your real problem is most likely recording technique and possibly the gear you're using. A good sound recorded properly doesn't need any EQ to sound professional. Where you place your microphone is the most important thing in capturing a sound and works just like EQing when in the right hands.


6

The Sound on Sound series of articles Synth Secrets provides a step-by-step approach for modeling range of instruments using analog techniques. Music, Physics and Engineering by H. Olsen provides examples of mechanical and electrical analogues to various instruments, and is in general a useful, if dated, reference. These examples are more directly useful ...


6

Notch filters are perfectly valid in certain key cases to deal with a particular problem with the sound. For example, when trying to deal with a single frequency buzz (like a 60hz line buzz) it is ideal to cut a very narrow band to deal with the problem. In general however, this is only true when troubleshooting a problem with the recording. For a general ...


6

According to my copy of the absolutely essential (!) Master Handbook of Acoustics, to hear shorter tones, that is sounds with a short impulse, they need to be louder: A 1,000-Hz tone sounds like 1,000 Hz in a 1-second tone burst, but an extremely short burst > sounds like a click. The duration of such a burst also influences the perceived loudness. ...


6

I consider using granular synthesis for this purpose as it's ideal here. Create one wing flap (use scheme as making synthetic kick drum in synthesizer - firstly, HF-component and then it gradually decreases to LF, but the range is more to HF part and envelopes are not so punchy). Then, put this to granular synth, try different grain time and amount of grains ...


6

I can't think of a catch all term for what you are describing. There are however, some frameworks for analysing sound. I think the range is equally vast, especially if you consider sound design in the context of its original definition - film sound, then the combination of sound and image is very complex indeed. But I think you are looking for something ...


6

You are most likely experiencing the non-linear frequency reception of the human hearing and the frequency response in your playback system. As listener you perceive a constant loudness of steady tones roughy following this chart (Equal loudness contours or "Fletcher-Munson" curves): In addition your headphones or speakers frequency response curve is also ...


6

There are three parameters of this filter that are described in the phrase "100 Hz 12 dB per octave low pass filter". I'll cover them in reverse order. Low pass filter - This means the filter does not change lower frequencies ("passes" those frequencies through) and blocks higher frequencies. Sometimes these filters are called "high cut filters", but that ...


5

It depends on the sound I'm trying to create ;). Pragmatically, it also depends upon the availability of a quiet, reflection-free outdoor spot vs. a foley studio — both of which can be hard to find (or afford). A project that calls for a more stylized foley track might best be served by a foley studio with an enormous assortment of props, shoes, pits, cloth,...


5

No birds or other animals in BG. Quiet BG, since everyone is indoors trying to stay warm. Small sounds seem magnified in contrast to the quiet of the ambient sounds. Distant sounds are duller due to greater atmospheric absorption of high frequencies in colder temperatures.


5

small skinny rope with a lightly weighted object tied (VERY SECURELY) to the end - record two layers - one of big looping swooshes for the initial flight out the window - maybe a 10 foot extension of the rope, then shorten the rope to 2 feet or so and go much much faster in a circle for the uncoiling. xlr cable could also work.


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